DOCSLIB.ORG

JUBILEE ORGAN RECITAL SERIES Sunday January 26Th – Thursday May 29Th 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JUBILEE ORGAN RECITAL SERIES Sunday January 26Th – Thursday May 29Th 2014 Please silence cellphones. No unauthorized photography, audio or video recording. Following the recent renovation of the Æolian-Skinner organ by R.A. Colby, Inc. Trinity Cathedral presents its JUBILEE ORGAN RECITAL SERIES Sunday January 26th – Thursday May 29th 2014 January 26th: MATTHEW STEYNOR (Trinity Cathedral, Miami, FL) February 27th: SIMON JOHNSON (St Paul’s Cathedral, London, UK) March 27th: JONATHAN DIMMOCK (San Francisco, CA) April 24th: JEREMY FILSELL (Washington National Cathedral) May 29th (service): RICHARD SPOTTS (Doylestown, PA) THE ORGAN AT TRINITY CATHEDRAL Æolian-Skinner Op. 471 The organ was installed at the time of Trinity’s construction in the mid-1920s, built by Ernest M. Skinner and Company with an initial specification of four manuals (keyboards), forty-three stops, thirty-six ranks and 2,497 pipes, including an Echo chamber in the rear gallery containing four ranks of pipes (removed in 2001 to undergo repairs, and returned in 2014). When the Diocese of South Florida split in 1969 and Trinity became the cathedral of the new Diocese of Southeast Florida, Dean McCormick spearheaded a drive to improve the organ. A donation from The Richards Foundation was received covering the cost of both a new console and the installation of a Trompette-en-Chamade. The contract went to Æolian-Skinner, but the timing was such that the company was unable to fulfill the obligation. Following Æolian-Skinner’s bankruptcy in 1972, the contract was transferred to Kinsey-Angerstein (Allen Kinsey had been Æolian-Skinner’s Head Engineer) and the sixty-one pipes of the Chamade were heard for the first time in May 1974. In addition to the Chamade rank, over one thousand other pipes have been added to the organ since the 1920s, made clear in the specification on pages 8-9 of this program. In 2002 many digital stops, enhancing both the organ’s power and versatility, were added to the organ. This was Phase One of a two part phase to overhaul the organ. The Second Phase of the renovations, completed over the last two and a half years, has involved the upkeep of the pipework already in existence, since much of the leatherwork needed replacing in order to ensure the organ's ability to function reliably for decades to come. In September, 2011, as part of Trinity's restoration and re-certification project, the organ's pipes, windchests, and mechanical components were moved to the factory of R.A.Colby. The pipes were removed both to protect the instrument while construction takes place in the sanctuary and chancel areas, and also for the Second Phase of the renovations to take place. During this renovation, the organ console remained in place with the complete specification playable as a digital instrument. The manual keyboards and pedalboard were replaced in October 2013, and all of the chests and pipes were reinstalled by the end of November 2013. For the final three weeks of the reinstallation in January 2014, the voicing and tuning of the pipes took place under the supervision of Roger Colby, president of the Colby company. Charles Callahan was present the second week and Bob Walker for some of the third. The Æolian-Skinner Organ Company In the 1920s Ernest M. Skinner and company had developed a national reputation for building large organs for some of the most prestigious churches, concert halls, colleges, and auditoriums in the country. These include The Cathedral of St. John the Divine (op. 150, 1906); Carnegie Music Hall, Pittsburgh (op. 180, 1910) and St Thomas Episcopal Church, Fifth Avenue, New York City (op. 205, 1913). In 1932 the Skinner company merged with the Æolian Company, resulting in the name Æolian-Skinner. Skinner’s reputation continued with the new name well into the sixties with instruments built or rebuilt at locations including Grace Cathedral in San Francisco (1933), the Mormon Tabernacle in Salt Lake City (1948) and St Philip’s Cathedral in Atlanta (1962). The company however ceased operations in 1972. In the Tri-County area there are only three Æolian-Skinner organs remaining; the other two (according to the Organ Historical Society) are in West Palm Beach and have two manuals. Trinity Cathedral’s organ is certainly a unique South Florida treasure. R.A. Colby Organ Builders Based in Johnson City, Tennessee, R.A. Colby has enjoyed a rich and diverse history. Begun in 1974 as an adjunct to a major Pipe Organ Builder, the firm began under the name of Kimber-Allen, Inc. as a supplier of specialized electrical components to the trade. Relocation to Tennessee in 1979 saw the growth of the supply endeavors and expansion of the product line to include component construction for the organ building trade. By 1984, the main focus of the company had become the design and construction of custom components for the pipe organ industry. As a result, the company transitioned to the present name of R.A. Colby, Inc. As the offerings of the company grew, a dedicated floor space was constructed in 2001 to house a new, state of the art, large format computer controlled router along with our existing smaller format CNC router, computer controlled lathe, and computer controlled laser. Currently the R.A. Colby team numbers nineteen including President, Vice-President and Secretary. Not counting regular tuning jobs, The Colby company completed around a dozen projects in 2013, including some new pipes at First Presbyterian Church in Pompano Beach, a phase of the organ project at the US Naval Academy and the touring organ for legendary virtuoso organist Cameron Carpenter. Projects for this year include The Cathedral Basilica of St. Augustine (America's First Parish), Christ Church Methodist Church in Fort Lauderdale and the largest console ever built for the seven manual instrument at the Castro Theater in San Francisco. RECITAL 1: Sunday January 26th at 4:00pm Matthew Steynor Trinity Cathedral, Miami Sonata Eroïca, Op. 94 Joseph Jongen (1873 – 1953) Adagio for Strings Samuel Barber (1910 – 1981) arr. William Strickland (1914 – 1991) L’adorazione dei Magi Ottorino Respighi (1879 – 1936) (Trittico Botticelliano) arr. Matthew Steynor (b. 1979) Canonic Variations on Johann Sebastian Bach “Vom Himmel Hoch”, BWV 769a (1685 – 1750) 1. Canon at the octave 2. Canon at the fifth 3. Canon at the seventh 4. Canon in augmentation 5. Cantus firmus in canons Wedding Graham Fitkin (b. 1963) Orison Frederick J. Kent (b. 1928) Sonata Op. 28 Edward Elgar (1857 – 1934) I – Allegro maestoso II – Allegretto III – Andante espressivo IV – Presto (comodo) You are invited to a reception in Cathedral Hall after the recital sponsored by the Miami Chapter of the American Guild of Organists. Matthew Steynor, a native of Britain, has been Director of Music at Trinity Cathedral since Fall 2007. As Director of Music he directs and accompanies the Cathedral Choir, as well the Anglican Chorale of Southeast Florida, which he co-founded to introduce the service of Evensong to Trinity Cathedral on a regular basis. He has played all the major instruments in the area in solo recitals, liturgies, conventions and workshops for organizations such as the Church Music Association of America and the American Guild of Organists. Prior to coming to Trinity Cathedral Mr Steynor worked at Great St Mary's in Cambridge, UK, St Thomas Episcopal Parish in Coral Gables, FL and Christ Church Cathedral in Nassau, Bahamas. He was recently honored with the "Spirit of Absalom Jones Award" from the Miami Chapter of the Union of Black Episcopalians. He is a graduate of Cambridge University (U.K.), where he earned a Master of Arts degree and a Postgraduate Certificate of Education. He was an organ scholar at Queens’ College, where he was jointly responsible for the music in the college chapel for three years. Four recordings were made during this tenure, which received outstanding reviews in highly respected music journals and are still available on iTunes. In addition to his duties at Trinity Cathedral, Mr Steynor worked reguarly with the Master Chorale of South Florida and Florida’s Singing Sons Boychoir for six seasons. He has been heard on the nationally syndicated Minnesota Public Radio show Pipedreams, and in 2008 was one of fifty choirmasters selected to participate in BBC Music Magazine’s worldwide “Fifty Greatest Carols” survey. RECITAL 2: Thursday February 27th at 7:30pm Simon Johnson St Paul’s Cathedral, London Marche Héroïque A. Herbert Brewer (1865-1928) from Sonata in A minor William Harris (1883-1973) Adagio espressivo Allegro, Chorale and Fugue in D Felix Mendelssohn (1809-47) Herzlich tut mich verlangen (Op. post.122, No 10) Johannes Brahms (1833-97) Prelude and Fugue in C major, BWV 547 Johann S. Bach (1685-1750) A fancie from My Ladye Nevell’s Book William Byrd (c.1542-1623) Symphony No 6 in G minor (Op. 42) Charles-Marie Widor (1844-1937) I – Allegro II – Adagio III – Intermezzo IV – Cantabile V – Finale Simon Johnson is the Organist and Assistant Director of Music at St Paul’s Cathedral, where he presides over the five-manual Willis/Mander organ, one of the finest musical instruments in the world. He held organ scholarships at Rochester, Norwich and St Paul’s Cathedrals, before becoming Director of Music at All Saints’ Church, Northampton and then Assistant Master of Music and Director of the Abbey Girls’ Choir at St Albans Cathedral. He took up his present position in 2008. In addition to the daily round of services at St Paul’s, Simon also plays for all the important national services and events that take place there, most recently at the funeral service of Baroness Thatcher. Last year he played for the national service of thanksgiving to celebrate the diamond jubilee of Her Majesty the Queen, for which he also arranged some of the music.
Load more

Recommended publications
  • PIPEDREAMS Programs, May 2021 Spring Quarter
    PIPEDREAMS Programs, May 2021 Spring Quarter: The following listings detail complete contents for the May 2021 Spring Quarter PIPEDREAMS broadcasts. The first section includes complete program contents, with repertoire, artist, and recording information. Following that is program information in "short form". For more information, contact your American Public Media station relations representative at 651-290-1225/877- 276-8400 or the PIPEDREAMS Office (651-290-1539), Michael Barone <[email protected]>). For last-minute program changes, watch DACS feeds from APM and check listing details on our PIPEDREAMS website: http://www.pipedreams.org AN IMPORTANT NOTE: It would be prudent to keep a copy of this material on hand, so that you, at the local station level, can field listener queries concerning details of individual program contents. That also keeps YOU in contact with your listeners, and minimizes the traffic at my end. However, whenever in doubt, forward calls to me (Barone). * * * * * * * PIPEDREAMS Program No. 2118 – May Flowers (distribution on 5/3/2021) Maytime Flowers . in hopes that April showers have done their work, we offer up this melodious musical bouquet. [Hour 1] AARON DAVID MILLER: A Flower Opens –Aaron David Miller (1979 Fisk/House of Hope Presbyterian Church, Saint Paul, MN) Pipedreams Archive (r. 3/18/12) SIR FREDERICK BRIDGE: Flowers of the Forest –Simon Nieminski (1913 Brindley & Foster/Freemasons Hall, Edinburgh) Pro Organo 7240) LEONARD DANEK: Flowers –Leonard Danek (1979 Sipe/Hennepin Avenue United Methodist Church,
    [Show full text]
  • PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
    PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer.
    [Show full text]
  • The Tuesday Concert Series at Tuesday Maintain Epiphany’S Artistic Profile the Church of the Epiphany and Its Instruments
    the HOW YOU CAN CONSIDER HELPING THE TUESDAY CONCERT SERIES AT TUESDAY MAINTAIN EPIPHANY’S ARTISTIC PROFILE THE CHURCH OF THE EPIPHANY AND ITS INSTRUMENTS CONCERT The Tuesday Concert Series reaches out to the entire metropolitan Washington community 52 weeks of the year, and Since the Church of the Epiphany was founded in brings both national and international artists here to 1842, music has played a vital role in the life of the parish. The Tuesday Concert Series reaches out to the SERIES Washington, DC. The series enjoys partnerships with many entire metropolitan Washington community and runs artistic groups in the area, too, most keenly with the Washington throughout the year. No other concert series follows July - December Bach Consort, the Levine School of Music, and the Avanti such a pattern and, as such, it is unique in the 2017 Orchestra. Washington, DC area. There is no admission charge to the concerts, and visitors and Epiphany houses three fine musical instruments: The regular concert-goers are invited to make a freewill offering to Steinway D concert grand piano was a gift to the support our artists. This freewill offering has been the primary church in 1984, in memory of vestry member Paul source of revenue from which our performers have been Shinkman, and the 4-manual, 64-rank, 3,467-pipe remunerated, and a small portion of this helps to defray costs of Æolian-Skinner pipe organ (1968) is one of the most the church’s administration, advertising and instrument upkeep. versatile in the city. The 3-stop chamber organ (2014), Today, maintaining the artistic quality of Epiphany’s series with commissioned in memory of Albert and Frances this source of revenue is challenging.
    [Show full text]
  • The TUESDAY CONCERT SERIES
    the HOW YOU CAN CONSIDER HELPING THE TUESDAY CONCERT SERIES AT TUESDAY MAINTAIN EPIPHANY’S ARTISTIC PROFILE THE CHURCH OF THE EPIPHANY AND ITS INSTRUMENTS CONCERT Since the Church of the Epiphany was founded in The Tuesday Concert Series reaches out to the entire 1842, music has played a vital role in the life of the metropolitan Washington community 52 weeks of the year, parish. The Tuesday Concert Series reaches out to SERIES and brings both national and international artists here to the entire metropolitan Washington community and Washington, DC. The series enjoys partnerships with many runs throughout the year. No other concert series July - December artistic groups in the area too, most keenly with the follows such a pattern and, as such, it is unique in 2016 Washington Bach Consort, the Levine School of Music, and the Washington, DC area. the AVANTI Orchestra. Epiphany houses three fine musical instruments: There is no admission charge to the concerts and visitors and The Steinway D concert grand piano was a gift to the regular concert-goers are invited to make a freewill offering to church in 1984, in memory of vestry member Paul support our artists. This freewill offering has been the primary Shinkman, and the 4-manual, 64-rank, 3,467-pipe source of revenue from which our performers have been Æolian-Skinner pipe organ (1968) is one of the most remunerated and a small portion of this helps to defray costs of versatile in the city. The 3-stop chamber organ the church’s administration, advertising and instrument (2014), commissioned in memory of Albert and upkeep.
    [Show full text]
  • Alan Hovhaness Across the Ages Troy1805 Albany Records U.S
    ALAN HOVHANESS ACROSS THE AGES WWW.ALBANYRECORDS.COM TROY1805 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 christina gullans, cello ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD jeremy filsell, piano TEL: 01539 824008 © 2020 ALBANY RECORDS MADE IN THE USA DDD sowne ensemble WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Gullans_1805_book.indd 1-2 1/29/20 8:29 AM THE RECORDING the Indian jhala rhythmic pattern akin to a Western toccata. The third movement, Intermezzo, Across the Ages features cello works written by the prolific American composer Alan Hovhaness begins with a light-hearted dialog that gradually evolves into an exuberant celebration while (1911-2000). Inspired by elements of ancient Armenian, Japanese, and Indian music, the collec- the next movement, Tremolando glissando, creates a haunting, wintery atmosphere, present tion of works reflects Hovhaness’ renowned ability to synthesize different musical traditions. in many of Yakamochi’s poems. The Suite ends with the Requiem movement, which is a somber Utilizing the cello’s rich and expressive nature, Hovhaness’ music reveals the timeless connec- reflection ultimately closing on a philosophical note. The movement brings to mind the follow- tion we have to past civilizations, to nature, and to one another. ing poem written by Yakamochi: THE MUSIC This world Alan Hovhaness’ music is universal and spiritually uplifting. His profound understanding of Does not go on forever- Western and non-Western musical traditions came from having an early mentorship under Men know it, yet Jean Sibelius (Finland), from being a student of Frederick Converse (England Conservatory), With the chilly autumn wind from being a long-time organist for St.
    [Show full text]
  • Organ Ccwatershed.Org/Campion
    UID SUM MISER TUNC DICTURUS? QUEM PATRONUM ROGATU- A ConcertRUS, CUM for VIX JUSTUS All SIT SaintsSECURUS? QUI MARIAM and ABSOLVISTI, All ET Souls Q LATRONEM EXAUDISTI, MIHI QUOQUE SPEM DEDISTI. (Sequence) Quia in qua venit omnes hora John 5: 28 HAT SHALL I, WRETCHED, THEN SAY? WHOM The ChoirSHALL of I INVOKEThe Church AS PROTECTOR, of the Epiphany WHEN EVEN THE JUST SHALL HARDLY BE SECURE? THOU WHO DIDST ABSOLVEWashington, MARY, ANDD.C. DIDST HEARKEN WTO THE THIEF, TO ME ALSO THOU HAST GIVEN HOPE. St. Edmund CampionDr. Missal Jeremy & Hymnal Filsell, for Director the Traditional Latin Mass Christopher Betts, Organ ccwatershed.org/Campion St. John the Evangelist Roman Catholic Church Lambertville, NJ Saturday, October 31, 2015 6:00 p.m. Program Gaudeamus (from Sequence for All Saints) Kenneth Leighton (1929-1988) Gaudeamus. Rejoice in the Lord, O ye righteous: for it becometh well the just to be thankful. Rejoice all and praise the Lord; celebrating a holy day in honor of all the saints. Alleluia. Give us the wings of faith to rise within the veil and see the saints above, how great their joys, how bright their glories be. I ask them whence their victory came: They, with united breath, Ascribe their conquest to the Lamb, Their triumph to His death. Our glorious Leader claims our praise for His own pattern giv’n; While the long cloud of witnesses show the same path to Heav’n. Beati mundo corde William Byrd (1540-1623) Beati mundo corde, Blessed are the pure in heart, quoniam ipsi Deum videbunt. for they shall see God.
    [Show full text]
  • OCTOBER 2019 the Church of the Redeemer Chestnut Hill
    THE DIAPASON OCTOBER 2019 The Church of the Redeemer Chestnut Hill, Massachusetts Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN RAéL PRIETO RAM°REZ ^^d/E,/E> 2019 W®ÙÙ^͘çWÊÄã &®ÙÝãWÙ®þt®ÄÄÙ >ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄ ò®½½®Äã«h͘^͘ ¦®ÄĮĦ®ÄÝçÃÃÙ JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 10, The Gruenstein Award Whole No. 1319 Last month’s issue unveiled our OCTOBER 2019 new S. E. Gruenstein Award, Established in 1909 honoring the founder and fi rst edi- Stephen Schnurr ISSN 0012-2378 tor of The Diapason. Nominations 847/954-7989; [email protected] are being accepted through January www.TheDiapason.com An International Monthly Devoted to the Organ, 31, 2020, recognizing the scholarly the Harpsichord, Carillon, and Church Music work of a young author who has not advertising inquiries, please contact Jerome Butera (jbutera@ reached her or his 35th birthday as of sgcmail.com; 608/634-6253). The deadline for listings and CONTENTS January 31, 2020. advertising is November 1. FEATURES Submissions must be original Olivier Messiaen Competition: Church of research and essays by the author, In this issue St.
    [Show full text]
  • Friday Music at Midday
    FRIDAY MUSIC AT MIDDAY 5 THOMAS CIRCLE, NW WASHINGTON, DC 20005 carol feather martin Organist November 13, 2020 12:15 p.m. keepers of the legacy: music of the organists of notre-dame Final Louis Vierne from 1re Symphonie (1898-1899) (1870-1937) Fuga V. (1784) Jean-Jacques Beauvarlet-Charpentier from Six Fugues pour l’Orgue, Op. 6 (1734-1794) Préludes XIV, XI, VII, (1965-1975) Jean-Pierre Leguay From 19 Préludes pour orgue (1939- ) Scherzo symphonique (1974) Pierre Cochereau Improvisation transcribed by Jeremy Filsell (1924-1984) meet the artist Carol Feather Martin, a native of North Carolina, graduated from Oberlin Conservatory with a BM in piano performance and MM degree in Organ Performance and Piano Chamber Music and Accompanying Performance from Catholic University. Carol is Director of Music and Arts and Organist at Trinity Presbyterian Church in Arlington, Virginia where she works with all ages of singers, handbell ringers and instrumentalists. She also is a Artist instructor of piano for Mason Community Arts Academy and Arts and Minds Academy. For 10 years, Carol was the Artistic Director of Virginia Bronze, an auditioned community handbell ensemble. Through the years, Carol’s diverse musical tastes have served her well as she has arranged music and uniquely constructed programs for various ensembles and guest artists. Solo and chamber music recitals have taken Carol to many areas of the U.S. and also Canada and Germany. She is a champion of newly composed and American music as well as standard repertoire and transcriptions. She is a frequent clinician and consultant for professional music organizations.
    [Show full text]
  • Organ Dedication Recital
    THE PARISH OF SAINT CATHERINE OF SIENA TRUMBULL , CONNECTICUT PRESENTS Michael Hey ORGAN DEDICATION RECITAL SUNDAY THE TWELFTH OF NOVEMBER TWO THOUSAND AND SEVENTEEN FOUR O’CLOCK IN THE AFTERNOON THE ORGAN IN THIS CHURCH WHICH ADDS BEAUTY TO OUR CELEBRATIONS OF THE SACRED LITURGY WAS MADE POSSIBLE BY A BEQUEST TO THIS PARISH OF SAINT CATHERINE OF SIENA BY DOROTHY S. COTTON AND IS DEDICATED IN PRAYERFUL REMEMBRANCE OF HER PARENTS , JULIA AND JOHN SLADKY . AD MAIOREM DEI GLORIAM ANNO DOMINI MMXVII IN PREPARATION FOR THIS RECITAL , PLEASE SILENCE ALL CELLULAR PHONES . AUDIO OR VIDEO RECORDING OF THIS RECITAL , USING ANY DEVICE , WITHOUT PRIOR WRITTEN CONSENT IS STRICTLY PROHIBITED . Program Sinfonia from Cantata NNNOOO... 292929 Johann Sebastian Bach (1685-1750) arr. Marcel Dupré (1886-1971) Children's Corner Claude Debussy (1862-1918) arr. Michael Hey I. Doctor Gradus ad Parnassum IV. The Snow is Dancing VI. Golliwogg's Cakewalk “Gigue” Fugue in G Major, BWV 577 J. S. Bach Chorale Prelude: Sheep May Safely Graze, BWV 208 J. S. Bach Symphony No. 6 in G minor, OP. 42, NO. 2 Charles-Marie Widor (1844-1937) I. Allegro ~INTERMISSION ~ Pomp and Circumstance, NO. 2 Edward Elgar (1857-1934) arr. Edwin Lemare (1865-1934) The Dancing Pipes (2016) Jonathan Dove (b. 1959) Seven Pastels from the Lake of Constance, OP. 96 Sigfrid Karg-Elert (1877-1933) VII. Hymn to the Stars Scherzo SymphonSymphoniqueiqueiqueique Pierre Cochereau (1924-1984) arr. Jeremy Filsell (b. 1964) ALL ARE INVITED TO GREET THE ARTIST AT A FESTIVE RECEPTION IMMEDIATELY FOLLOWING THE PROGRAM IN THE CHURCH HALL .
    [Show full text]
  • Winter /Sp Rin G 2019
    Choir School News A Newsletter for Alumni & Friends of Saint Thomas Choir School WINTER/SPRING 2019 FROM THE PRESIDENT OF THE ALUMNI ASSOCIATION Although we are deep in Lent as this issue goes to print, Christmas is still very much on my mind. The winter holidays found me rereading Dickens’s A Christmas Carol, and what struck me most about this extraordinary story was the collapsing of past, present, and future into one day that offered Scrooge rebirth and renewed fellowship. For us, 2019 brings the rare opportunity to celebrate our Choir School in retrospect and in prospect. I was moved by the many of you who showed up to Founders’ Day on March 3, and the bounty of goodwill and memories you brought. I look forward to feeling this same energy and support during our Lenten alumni preaching and recital series, as well as at Graduation in June and Reunion Weekend starting November 8. I encourage you to come to one or more of these events, to share your memories and share in a more complete vision of Saint Thomas Choir School – past, present, and future. Come, as Dickens would have it, with open, laughing hearts, meditating on what the Choir School has given us and continues to give others after one hundred years. – Aaron Primero ’05 SCHOOL NEWS HEARD AROUND THE LUNCH TABLES We always enjoy catching up with faculty, staff, and boys over a weekday lunch. When we visited recently, we stopped by the table headed by Mr. Appleton (Math) to see how the new Singapore math program was going (profiled in Summer/Fall 2018 newsletter).
    [Show full text]
  • November Organ Recital Series
    IPC NOVEMBER ORGAN RECITALISTS (1965-2019) ORGAN RECITALISTS (continued) ANNOUNCEMENTS Marie-Claire Alain Richard Heschke Peter Planyavsky Herndon Spillman WE ARE EXTREMELY GRATEFUL to the many people Robert Anderson David Higgs Eric Plutz Damin Spritzer George Baker Heather Hinton Robert Poovey Ronald Stalford who have financially supported the Music and Fine Arts David Baskeyfield Edith Ho Michael Radulescu Frederick Swann programs through the past years, and we look forward to Robert Bates Frederick Hohman Raúl Prieto Ramírez Peter Sykes continued support as we strive to offer the finest in music Independent Presbyterian Church Diane Meredith Belcher Christopher Houlihan Robert Rayfield William Teague and the arts as our gift to the community of Birmingham Joby Bell David Hurd Cherry Rhodes Carole Terry to the glory of God. Gifts given to the endowment funds Jonathan Biggers Peter Hurford George Ritchie Maxine Thévenot in E. Power Biggs Warren Hutton Caroline Robinson Edward Tibbs mentioned in this brochure directly support the many Guy Bovet Gunnar Idenstam McNeil Robinson Charles Tompkins aspects of the presentation, promotion, and creation of the City of Birmingham David Bowman Paul Jacobs Schuyler Robinson Tom Trenney music and fine art at IPC. David Briggs Marie-Louise Jaquet Catherine Rodland Thomas Trotter presents Chelsea Chen Martin Jean John Rose John Tuttle THE USE of recording devices during these concerts is Ji-Yoen Choi Wilma Jensen Daniel Roth James Walker Douglas Cleveland Simon Johnson Wolfgang Rübsam John Walker strictly prohibited. James Cook Joyce Jones Jonathan Ryan John Weaver The Fifty-Fifth Annual Robert Clark Marilyn Keiser Joseph Schreiber Marianne Webb THE IPC CHOIR, under the leadership of Dr.
    [Show full text]
  • Download Booklet
    David Briggs (b. 1962) • Jeremy Filsell (b. 1964) He had acquired Burford Priory in 1586 but became Again, the organ part is granted the lionʼs share of known for his harsh treatment of tenants on the land. colourful interjection and the pieceʼs first performance Choral Music Petitions brought against him reputedly moved his second profited from the great skill of Scott Dettra at the National The concept behind this recording was to bring together own singers and colleagues, where liturgical offerings wife to “play the devil” among the villagers of Great Tew, Cathedral organ. two of the finest British organist/composers to showcase have proved apt for the fabric, traditions and musical style and to “grind them to powder”: Nice lady. Tanfield died in The writing of my Te Deum and Jubilate (2001) was a not only the sheer brilliance of their playing, but also the of respective establishments. Notable, however, is that 1625, and instructions in his will were to dispose of his response to a request – admittedly a light-hearted breadth and depth of their creativity as experienced choral fate often deals unkindly with music of this nature – indeed worldly goods “whereof God has bestowed upon me a throwing-down-of-the-gauntlet – by the inspirational composers. Both Jeremy Filsell (with whom we have been much of the copious Victorian fare of this kind is now justly plentiful heart”. On his grand tomb, erected in Burford Jonathan Rees-Williams, then Director of Music, for more delighted and privileged to work on many occasions in the – or unjustly, depending on the tint of oneʼs spectacles – church, his widow left this poignant epitaph.
    [Show full text]